A potent psychedelic wash blurs the edges of these 10 tracks from trippy chimes to crackling static experimentation. [Feb 2019, p.93]

Focused, melancholy, modern ghost blues, these 10 rough-hued duets move from jeremiad to elegy, from love ballad to lament to scream. [Jan 2019, p.91]

Blend anarcho-punk speed rush with the paranoid crash of industrial rock--ticking programmed drums, frantic guitars, creepy crawl vocals. [Feb 2019, p.93]

She stands sonically naked, palettes limited and claustrophobic in their unrelenting mono-focus, in this fascinating but demanding debut. [Feb 2019, p.91]

The longueurs of the album's latter half rob the long-player of true classic potential, but the rehearsal room banter and stripped-back demos will pique fans' interest. [Jan 2019, p.105]

Rully Shabara and Wukir Suryadi call spirits from the soil with enough power to trouble the Richter scale. [Feb 2019, p.91]

We get to bask in the calm in the eye of Young's wilful hurricane without suffering the trail of destruction that followed it. An intensely enjoyable experience it is, too. [Feb 2019, p.99]

This likable debut peaks on Everything Apart's breezy kosmische shuffle, and Lennon-ish I'll Be Alright, but its airiness doesn't always work. [Feb 2019, p.93]

Throughout, a twinkly otherworldliness is counterbalanced by rhythmic excursions evoking the passage between one liminal world and another. [Feb 2019, p.92]

Tropical Fuck Storm's wonky rock discordance is not quite as provocative as they perhaps think. Nevertheless, there's still plenty to be enjoyed here. [Feb 2019, p.90]

Certainly, the music here is very often brilliant. ... .Paak's tendency for juvenile and preening bad-boy bluster is a recurring weakness. [Feb 2019, p.84]

FM! initially feels slighter, not least because of a brisk 22-minute duration. The breeziness is deceptive, though, as Staples and producer Kenny Beats construct a minimalist update of G-funk where the jams are always freighted with an awareness of potential violence. [Feb 2019, p;.84]

With an airy yet intimate mix from longtime engineer Bob Clearmountain, this 2-CD/4-LP package carries the requisite audio heft to compensate those who couldn't see Springsteen On Broadway in its natural habitat. [Feb 2019, p.82]

His best yet, a mix of reimagined trad pieces, diverse covers and elegantly rowdy new jams. [Nov 2018, p.89]

A near two-hour spiritual masterclass, recorded live at London's Church of Sound, that simultaneously enhances, enriches and expands. [Dec 2018, p.89]

The result is an album of eminently listenable sonic frontierism, and Butler's most accessible work in years. [Dec 2018, p.89]

It's an irresistibly modern mix. [Dec 2018, p.89]

A strong melodic streak can reach those Husker Du pleasure-pain receptors, but equally often they're quirky to the point of throwaway. [Jan 2019, p.93]

Trouble Anyway is a much more fleshed-out, even lush proposition [than her 2016 debut, Out Of Love]. [Jan 2019, p.90]

The result is another madcap sonic escapade. [Dec 2018, p.87]

Strong, tub-thumping songwriters fall prey to Nashville cliche. [Dec 2018, p.94]

Across the ensuing 85 minutes there are sufficient six-string pyrotechnics, pop hooks and lyrical urgencies to shame an artist a third his age. [Jan 2019, p.88]

Amor's main reference point is arguably Arthur Russell, though there's little of his joie de vivre--unless you count the cowbell on Heaven Among The Days--and more the cold fire of Martin Hannett-era A Certain Ratio. [Jan 2019, p.89]

It's easy groove doesn't suggest exhaustion, just peace of mind. [Jan 2019, p.84]

The deadpan vocals of Camila De Laborde means that The Knife comparisons are difficult to shake, but they mirror the bold, ethereal quality of the music. [Jan 2019, p.89]

Spare, simple, languid, often Ens lacks, ironically, is a wildness. In the end, it's just a little too tame. [Jan 2019, p.85]

The results are as wildly evocative as anything by Steve Reich or Terry Riley, but thunderously affecting on their own terms. [Jan 2019, p.85]

Stylistically, the album juxtaposes grungy art rock with punk-jazz, electronica, and hip-hop, though it's McCaslin's tenor sax and aesthetic vision that imbues Blow. with a sense of unity and coherence. [Nov 2018, p.95]